ANNEAR front cover 1 BLUE QUAY I, 2020 oil on canvas 1 150 x 120 cms 59 x 47 ⁄4 ins

2 THREE BEATS IN A BAR V, 2020 pencil & ink on paper 7 7 18 x 25 cms 6 ⁄8 x 9 ⁄8 ins

3 THREE BEATS IN A BAR VII, 2020 pencil & ink on paper 7 7 18 x 25 cms 6 ⁄8 x 9 ⁄8 ins

5 MARITIME II, 2020 oil on canvas 4 THREE BEATS IN A BAR VI, 2020 3 1 101 x 80 cms 39 ⁄4 x 31 ⁄2 ins pencil & ink on paper 7 7 18 x 25 cms 6 ⁄8 x 9 ⁄8 ins ANNEAR EXHIBITION 2020

www.messums.com 6 MARITIME III, 2020 oil on canvas 12 Bury Street, St James’s, London SW1Y 6AB 1 1 108 x 80 cms 42 ⁄2 x 31 ⁄2 ins Telephone: +44 (0)20 7287 4448 7 BLACK POLKA, 2020 oil on canvas 1 150 x 120 cms 59 x 47 ⁄4 ins Foreword

It might at first seem odd to call Jeremy Annear a Surrealist, but it’s not a bad place to start. With titles like ‘Dream I,’ ‘Nocturnal Muse’ and ‘Harbour Moon III’, and with their mysterious evocation of place and mood, there’s a subtlety to these enigmatic, inviting paintings that speaks of a more distant and different world – like one glimpsed, half-darkly, in a mirror.

It is exactly a century since the French poet André Breton began his experiments in ‘automatic writing’ that led him to the invention of what he called ‘Surrealism’. It would go on to become one of the most important literary and artistic movements of the twentieth century, embracing artists as diverse as Salvador Dali, Henry Moore, Pablo Picasso and Paul Nash. And it’s fifty-three years since Annear – then a young student at Exeter College of Art – met Roland Penrose, one of Britain’s leading Surrealist artists, advocates and collectors. Breton 8 9 had died the previous year, and Penrose was in Exeter helping to curate ‘The Enchanted Domain’, a city-wide celebration of Surrealism. Participants included a number of other key figures in the British Surrealist movement – among them E.L.T. Mesens, Conroy Maddox and George Melly. Annear’s job was to help Penrose in hanging an exhibition of Surreal art.

Even now, over half a century later, Annear’s recalls that experience with pleasure. But did its influence rub off on his art? He admits that he does see something of Surrealism in his early work, whilst collage – a significant Surrealist technique – has been something that has interested him greatly over the course of his career. 8 ENFOLDED, 2020 But at first glance Annear’s powerful current work must clearly be placed in the oil on canvas 3 7 great tradition of twentieth-century British abstraction. That movement had as 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins its leading figure in this country the painter Ben Nicholson. He was no Surrealist – indeed, in the mid 1930s, when Nicholson was at the height of his powers, 9 MELODY I, 2020 oil on canvas Abstraction and Surrealism appeared entirely antithetical. Yet one of the key 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins influences on young Nicholson had been the Cornish naïve artist, Alfred Wallis. Famously, Nicholson had run into the retired mariner outside his little terraced 10 SEMAPHORE III, 2020 house in the back streets of St Ives in 1928. Wallis was just the sort of untrained, oil on canvas 3 7 10 11 visionary ‘outsider’ artist the Surrealists liked to fête – in the way the Parisian 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins Surrealists admired the self-taught tax collector, Henri Rousseau. 11 MELODY II, 2020 oil on canvas 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins And it was family holidays in St Ives in the early 1960s that first led Annear to Modern European Art: it was exactly there as a teenager that he first knew he wanted to become a painter. Though Paul Nash had extolled the powerful potential of the ‘Seaside Surrealism’ he had discovered in the Dorset town of Swanage in the 1930s, St Ives offered a different mode of Modernity. This was definitely and definitively a town of Abstraction – witnessed in the presence of leading abstract artists such as Barbara Hepworth, Terry Frost, Roger Hilton, Peter Lanyon and Wilhelmina Barns-Graham. The influence of the art being made by artists such as these was enough to draw Mark Rothko, the doyen of American Abstract Expressionism, to St Ives in the summer of 1959.

As Rebecca Wright wrote in Studio International on the occasion of a Rothko exhibition at London’s Whitechapel Gallery in October 2011,

Although the St Ives School has, at times, been presented as derivative of Abstract Expressionism, by exploring how American artists made the pilgrimage to St Ives to make contact with British artists this exhibition confounds any accusation of imitation. Instead, it reveals a collaborative dialogue in which artists from either side of the Atlantic are growing and learning together. It somewhat levels the geographic playing field, no longer pitting Abstract Expressionism as the dominant player, but presenting both groups as preoccupied with a similar endeavour.

What Wright does not note, however, is that one of the influential spurs towards Abstract Expressionism had been Surrealism. The great American Abstract Expressionist Robert Motherwell was, first off, a Surrealist. And it was Motherwell who during World War Two encouraged a young Jackson Pollock to take lessons at the exiled Atelier 17, the famous Parisian printing school run by the English Surrealist, Stanley William Hayter (whose work Annear greatly admired, and who was a considerable influence upon him).

The link between Abstraction and Surrealism was thus quite close (both historically and for Annear himself). Indeed, in 1940 Ben Nicholson used the phrase ‘abstract Surrealism’ to describe the work of his friend, Henry Moore, who was still exhibiting sculpture and drawings with the British Surrealists. But then, as Moore observed, ‘All good art, has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise, intellect and imagination, conscious and unconscious. Both sides of the artist’s personality must play their part …’ Thus in Annear’s work – as in Moore’s – we have a fruitful meeting of these two key Modernist movements. And one must always remember that the artist Annear most admires is Braque, the French artist he calls ‘my painting father – the highest influence’. 12 BLUE MELODY, 2020 oil on canvas 1 1 80 x 80 cms 31 ⁄2 x 31 ⁄2 ins So if Annear is an Abstract artist with a small debt to Surrealism, what are we to make of his relationship to landscape? Born in Exeter in 1949, and having moved from Devon to Cornwall in 1987, he is deeply rooted to the landscape of the West Country. But although he loves exploring the outdoor world, interestingly he does not really consider himself a landscape painter – or even a Romantic. He doesn’t feel like he analyses landscape, though place is still important to him: as he states, his paintings do make ‘odd connections between places and ideas.’

This comes out most clearly in works that – in their titles at least – clearly relate to very particular locations. Cameret-sur-Mer and Roscoff in the Finistére commune of Brittany, for example, are two places that inspired a number of 13 14 15 works in the current exhibition. Across the course of five visits to north-west France in 2019 he was deeply struck by the impression the Atlantic Ocean makes 13 ECLIPSE I, 2020 upon the coastline there. He explains that these works all ‘relate to harbours, oil on canvas 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins to harbour structures and the large wrecked trawlers along the coastline, with their extraordinary colours and shapes often against a winter sky. I’m very fond 14 EARTH FLOW I, 2020 of Roscoff.’ Likewise, the ‘Siesta Song’ trilogy, with their rich, rust-coloured oil on canvas 3 7 browns, were inspired by a period spent painting in Spain, and suggest what he 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins describes as ‘the reverie of after lunch wine and music.’ 15 ECLIPSE IV, 2020 When present in a landscape, Annear explains that he sees shapes, colours oil on canvas 3 7 and forms through the periphery of his vision, and that these might give him 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins inspiration and ideas. But his work is neither narrative nor topographical, and despite the occasional references to particular locations, these are decidedly not 16 ECLIPSE II, 2020 paintings of places. All are painted at home in his studio in Cornwall, away from oil on canvas 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins places of inspiration, where he searches for what he calls his ‘given language’ 16 17 18 and learns to speak it ‘as fluently as I can.’ He works in silence, but likes to play 17 ECLIPSE III, 2020 music between periods of painting. Jazz and chamber music are great passions oil on canvas 3 7 – something that, again, titles such as ‘Black Polka’, ‘Blue Melody’ or ‘Contra 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins Tone’ reflect. But as he explains, he never has a particular title in mind whilst he’s working; these always come afterwards, with each finished work evoking a mood 18 HARBOUR MOON IV, 2020 oil on canvas when he looks at it, and inspiring the name he chooses to give to it. 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins

19 ECLIPSE V, 2020 oil on canvas 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins

20 EARTH FLOW II, 2020 oil on canvas 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins 19 20 21 21 BOLERO II, 2020 oil on canvas 3 7 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins On his process of painting, Annear states that he always paints in oil, always onto an earth or ochre ground, working wet into wet, building up, scraping off, giving the works their extraordinary patina. With decades of experience behind him, he hardly uses a brush anymore – fingers, rag, palette knife are his primary tools. From a distance the paintings look smooth and pure of surface, but when you look closely you see the marks, the under-drawing, the smudges and fuzzy edges – the edges are very important to him. He ‘just lets it all happen,’ he explains – and here we may look back to Surrealism, and the realm of chance and ‘happy accidents’.

As those years of experience emphasize, there is always something pure underlying what Annear does. Born into that fundamental denomination of the Plymouth Bretheren, he joined the Russian Orthodox Church some years ago. Religion thus also plays a significant part in his contemplative approach to his art, what he sees as the psychological relationship of shapes and ‘a preoccupation with a kind of mystical geometry’. (Among the works of art that decorate his studio, there are numerous little religious icons; his own work is obviously very different, but one can see the connection between them.) He goes further, talking of ‘the mystical element of faith’ and ‘a search for perfection that will never come – yet that I’m always hopeful of discovering.’

Contemplative is thus perhaps the final word for understanding and appreciating Annear’s most recent work. These are paintings that need to be looked at, returned to, pondered over, contemplated – like the contemplation and calm that has gone into creating them. From simple shapes and colours, lines and curves and a devotion to edges, borders and boundaries, emerges profound beauty and meaning.

David Boyd Haycock April 2020

David Boyd Haycock is a freelance art historian and lecturer. He curated the current exhibition at Dulwich Picture Gallery, ‘British Surrealism’, and is the author of a number of books on British art, including ‘A Crisis of Brilliance: Five Young British Artists and the Great War.’ He is currently completing a biography of the great Bohemian artist, Augustus John.

22 CONTRA TONE III, 2020 oil on canvas 5 3 121 x 100 cms 47 ⁄8 x 39 ⁄8 ins 23

23 CONTRA TONE IV, 2020 oil on canvas 5 3 50 x 40 cms 19 ⁄8 x 15 ⁄4 ins

24 24 CROSSINGS, 2020 oil on canvas 5 3 121 x 100 cms 47 ⁄8 x 39 ⁄8 ins 25 CAMARET-SUR-MER II, 2020 26 CAMARET-SUR-MER I, 2020 oil on canvas oil on canvas 5 3 5 3 60 x 40 cms 23 ⁄8 x 15 ⁄4 ins 60 x 40 cms 23 ⁄8 x 15 ⁄4 ins Proof of Nature: Manifestation of Conditions in New Paintings by Jeremy Annear

Phillip Barcio

Nota futura: this essay was composed during the middle weeks of the COVID-19 outbreak, in self-isolation, at a small desk beside a bank of windows looking out at a row of houses filled with similarly isolated souls seated at their own small desks, gazing out their own windows, all of us alone together. There’s no sense in ignoring this detail of history. In fact, it might be perilous to. Will we be proud or ashamed of how we behave during this trial? This is proof that art and writing continued to matter to some of us, and so, should probably still matter to some of you.

As for myself, I feel privileged to have this work to focus on, and to still be working at all while so many others have lost their livelihoods. I also feel a responsibility to provide the best answer I can to an obvious question: what is worth saying about abstract art while human kind is being brought to its knees by a deadly, novel, fast-spreading virus?

If my work is impotent against existential threats, what value does it truly have? 27 28 I offer only the smallest answer—small, but undeniable:

We are all part of the world, and part of nature, and if our work is, too, then it should not stop until everything stops.

Structure and Feeling

That we are one with the ecosphere is a truth repeated insistently throughout the works that are the main subject of this essay: the rustic yet luminous, recent paintings of Jeremy Annear. People like Annear, who work everyday with pigment and light— pushing paint across empty surfaces, searching for equilibrium—know intimately how temperamental the elements are. If they learn to work with the living world instead of against it, they discover that humanity is not separate from nature, but proof of it, and their paintings express that ancient knowledge.

Nature’s geometry is as evident in Annear’s new paintings as it is in dust particles on the 27 SIESTA SONG I, 2020 moon, or on the velvet leaves of the sage in my herb garden. oil on canvas 5 5 60 x 60 cms 23 ⁄8 x 23 ⁄8 ins The Siesta Song series (I, II and III) evokes mid-day in the mediterranean countryside, as folds in space, gentle divots, and illusionist layers emerge and retreat amid shadows 28 SIESTA SONG II, 2020 and light. oil on canvas 29 5 5 60 x 60 cms 23 ⁄8 x 23 ⁄8 ins

29 SIESTA SONG III, 2020 oil on canvas 5 5 60 x 60 cms 23 ⁄8 x 23 ⁄8 ins Bolero I and Bolero II map the sensuous undulation of interlocked human forms, the oscillating tempo of waves massaging the shore, or the gentle sway of wind-caressed palm fronds.

Embrace II and Embrace III welcome us into gentle, interlocking hugs, while Sea Wall, Nocturnal Muse, Camaret-sur-mer I and Camaret-sur-mer II read like weathered beach signs in a hidden, seaside town.

I could go on, so ample are the correlations my memory finds between these paintings and the reality it expects, yet, my intellect reminds me that these paintings don’t represent something—they are something.

“I have gone through a stage of abstracting objects to what I now feel is a place of pure abstraction,” Annear says.

What I am talking about, then, is not the stuff that I see, or think I see, but the feelings it evokes within.

Paintings such as Contra Tone III and Roscoff I, with their subtle, incidental declaration that existence extends beyond what is visible, fill me with mystery, and a little hope.

Semaphore I, with its supergraphic urgency, brings me back to the here and now.

Currently my favorite among Annear’s new works is Earth Tango I. Its planar mysteries state quite well the confusion we—all of us—now find ourselves in at the end of the Anthropocene. The patriarchy, haughty and inexperienced, has been hurling Sister Earth around the dance floor, attempting to force its intentions onto its partner. Now here we are in a crumpled heap. Time to let the feminine take charge; feel her intentions; flow with them; stop fighting her lead.

These abstract expressions remind us that the shape of power is less important than the power of shapes.

30 EARTH TANGO I, 2020 oil on canvas 1 1 108 x 80 cms 42 ⁄2 x 31 ⁄2 ins A Night in Chelsea

Although I’ve been writing about his work for some years, it was only recently that I had the opportunity to actually meet Jeremy Annear face to face. Back in October 2019, I happened to be in London for Frieze Masters, and Annear unexpectedly reached out and invited me for a tipple at the Chelsea Arts Club, where he’s a member. As I rode the Tube from Regent’s Park, passing hundreds of neighborhood pubs where a pleasant evening almost certainly awaited almost any stranger, I found myself worrying whether it was a mistake to spend one of my few nights in London trying to socialize with an artist whose work I admired. Would he come off as academic, pedantic, or overly serious? Would I say the wrong thing and bruise his ego? Would he be unlikable, and cause me to mirror that unlikability? Or would we get on too well, and end up on an all night bender? (Past experience raised all of these concerns.) 31 Thankfully, I pushed onward, because the artist I met that night in Chelsea was as welcoming and gregarious as a berry farmer. If he had been wearing overalls and a hat, I would have gladly followed him into the field to share his toil. Instead, he was wearing a jacket and slacks, and had a bottle of wine already open at a table in the garden when I arrived. After pouring me a glass, his first words were not about himself nor his work, but rather questions about me: how was my trip going; how are my wife and dog; what had I seen so far that I liked at the fair? When the conversation did finally turn to him, he mentioned his art practice only briefly, just to say that he was excited about what he had been painting lately, and to ask if I wouldn’t mind too terribly much trying to write something about the new work. Then he showed me photos of his dog, shared stories about his family, and we philosophized about our mutual concerns for our loved ones, and for our fragile world. As the temperature dropped, we headed inside for fish and chips and a couple of pints, which we devoured to the not-unpleasant Londoner- twangs of a local Johnny Cash cover band.

That Annear would invite me all the way out to Chelsea to ask me in person to write about his new work, but then not talk to me about that work, might seem odd. But I’ve come to realize that talking about family, dogs, music and humanity’s relationship with the environment is, in fact, talking about the work.

31 LINESONG BLUES I, 2020 pencil & ink on paper 3 1 30 x 21 cms 11 ⁄4 x 8 ⁄4 ins

32 LINESONG BLUES II, 2020 32 pencil & ink on paper 1 36 x 25.5 cms 14 ⁄8 x 10 ins Annear’s new paintings

Annear’s new paintings are as straightforward as ripe pieces of fresh fruit at the grocery—almost glowing from within, attracting us closer with their strange shapes, luminous colors and tactile surfaces. No need to over-analyze them. We don’t ask the farmer, “What is the meaning of this fruit?” Just devour them, and let them nourish you. That’s what they’re there for.

What plans preceded these paintings? What led Annear to sense when they were finished? What fleeting thoughts and feelings visited him as he labored? These things are lost, and are almost always invisible to viewers anyway. The viewing has little to do with making. Asking the artist to explain the content in a purely abstract painting is tantamount to asking them to lie.

Moving elements around in search of the right light; feeling the welcome weight of time-worn tools; trusting their intuition and personal experience as much as they trust science. A farmer pushes dirt around; a painter pushes paint around.

What I am most enamored with about Annear’s new work is that it feels sensible and structured, but also free. Annear is painting with a mixture of feeling and surprise. Beautiful, unexpected, unfamiliar, sometimes inexplicable things are happening during the process. He is a participant along with nature in the manifestation of conditions that result in the development of something precious, even mystic: an image object; the final stage of an ancient and natural process of nurturing and growth.

33 SEA WALL, 2020 oil on canvas 5 3 60 x 40 cms 23 ⁄8 x 15 ⁄4 ins Conclusion

This brings me back to the question of the value of what I am doing here. It’s easy to argue in favor of the importance of abstract art at a time of existential crisis: it enlarges our perspective, brings us closer to our intuition, and reminds us things are not always what they seem. But the writing sometimes seems the least necessary part of the whole thing. I’m like the grocer pointing out that the apples are red, the oranges are juicy, and the lettuce is crispy and green. Even as I ramble on, I wonder, do you really see what I see, or feel what I feel?

I conclude that all I’m doing here is asking good questions. What is inevitable? What can we make happen? What should we stop trying to make happen? Our answers depend on how well we understand what we are. With this new body of work, Jeremy Annear is offering us small chances to get to know ourselves by letting color, texture, shape, line, form and light point the way. That’s all human culture is, really: what we know ourselves by. For what it’s worth, I believe our willingness to engage in that conversation is tied to all of the other challenges we face. Phillip Barcio

Phillip Barcio is an art journalist and fiction author based in Evanston, Illinois. Among other excellent publications, his writing has appeared in Western Humanities Review, Hyperallergic, Momus, The Michigan Quarterly Review, Tikkun, New Art Examiner, IdeelArt, WIDEWALLS, AMA Art Basel Magazine, Paris Photo Magazine, La Gazette Drouot, PATTERN, Space Squid, the Swamp Ape Review, various museum and gallery exhibition catalogues, and is included in the Smithsonian Archives of American Art. He hosts the weekly radio program Apocalypse Mixtape, on which contemporary artists share their thoughts on the word apocalypse, along with the songs they would put on their apocalypse mixtape.

34 SEMAPHORE I, 2020 oil on canvas 1 150 x 120 cms 59 x 47 ⁄4 ins 35

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35 OOH LA LA! 2020 pencil & ink on paper 7 7 25 x 18 cms 9 ⁄8 x 6 ⁄8 ins

36 CASCADE, 2020 oil on canvas 5 3 50 x 40 cms 19 ⁄8 x 15 ⁄4 ins 38

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37 ROSCOFF II, 2020 oil on canvas 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins

38 ROSCOFF III, 2020 oil on canvas 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins

39 ROSCOFF I, 2020 oil on canvas 39 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins 40 41 42

40 THREE BEATS IN A BAR IV, 2020 pencil & ink on paper 3 1 30 x 21 cms 11 ⁄4 x 8 ⁄4 ins

41 WHITE PULSE I, 2020 oil on canvas 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins

42 WHITE PULSE II, 2020 oil on canvas 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins 43

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43 THREE BEATS IN A BAR III, 2020 pencil & ink on paper 7 7 18 x 25 cms 6 ⁄8 x 9 ⁄8 ins

44 HARBOUR, 2020 oil on canvas 1 3 41 x 30 cms 16 ⁄8 x 11 ⁄4 ins 45 EMBRACE II, 2020 46 EMBRACE III, 2020 oil on canvas oil on canvas 5 3 5 3 50 x 40 cms 19 ⁄8 x 15 ⁄4 ins 50 x 40 cms 19 ⁄8 x 15 ⁄4 ins 47 ECLIPSE VI, 2020 48 BOLERO I, 2020 oil on canvas oil on canvas 3 3 1 5 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins 70 x 50 cms 27 ⁄2 x 19 ⁄8 ins 49

49 NOCTURNAL MUSE, 2020 oil on canvas 5 3 50 x 40 cms 19 ⁄8 x 15 ⁄4 ins

50 NIGHT SAMBA STUDY, 2020 oil on canvas 5 3 50 x 40 cms 19 ⁄8 x 15 ⁄4 ins

51 AERIAL, 2020 50 oil on canvas 5 3 121 x 100 cms 47 ⁄8 x 39 ⁄8 ins 51 53

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52 DREAM IV, 2020 oil on canvas 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins

53 DREAM I, 2020 oil on canvas 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins

54 DREAM III, 2020 oil on canvas 54 3 3 40 x 30 cms 15 ⁄4 x 11 ⁄4 ins 55 57 58

56 57 HARBOUR MOON I, 2020 oil on canvas 3 1 30 x 24 cms 11 ⁄4 x 9 ⁄2 ins

55 THREE BEATS IN A BAR VIII, 2020 58 HARBOUR MOON III, 2020 pencil & ink on paper oil on canvas 1 3 3 7 21 x 30 cms 8 ⁄4 x 11 ⁄4 ins 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins

59 56 THREE BEATS IN A BAR XI, 2020 59 HARBOUR MOON II, 2020 pencil & ink on paper oil on canvas 1 3 3 7 21 x 30 cms 8 ⁄4 x 11 ⁄4 ins 30 x 25 cms 11 ⁄4 x 9 ⁄8 ins 60

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60 THREE BEATS IN A BAR X, 2020 pencil & ink on paper 1 3 21 x 30 cms 8 ⁄4 x 11 ⁄4 ins

61 THREE BEATS IN A BAR XII, 2020 62 ECCENTRIC BLUE, 2020 pencil & ink on paper oil on canvas 1 3 5 3 21 x 30 cms 8 ⁄4 x 11 ⁄4 ins 50 x 40 cms 19 ⁄8 x 15 ⁄4 ins BIOGRAPHY Jeremy Annear (b. 1949) is an abstract painter who was born in Devon and has 1997/96 Cadogan Contemporaries, London. since moved westwards into Cornwall. There he lives in a converted chapel on ‘Critic’s Choice’, (Sasha Craddock), Newlyn Art Gallery. the Lizard Peninsular. 1995 Online Gallery, Southampton. Represented by Messum’s, Bury Street, London 1994 Galerie Plein 1, Zeist, Holland. 1994/93 ‘G12’, Amersfoort, Holland. BIOGRAPHICAL HISTORY 1993 Demarco’s European Art Foundation, The Edinburgh Festival. 1966-69 Exeter College of Art, Painting and Printmaking. ‘G12’, Salthouse Gallery, St Ives. 1973-76 Rolle College, Exmouth, Devon (B Ed). ‘Summer Exhibition’, The Royal Academy of Arts, London. 1976-84 Assistant Director, Dyrons Art Centre, Devon. ‘Demarco’s Choice’, Newlyn Art Gallery, Cornwall. 1982-84 Lecturer, South Devon College. Newlyn Fish Festival, guest artist with Ralph Freeman, Newlyn Art Gallery, 1984-86 Director, Ryder’s Gallery, Dartington College of Art, Devon. Cornwall. 1988 Member of the Penwith Society of Artists. 1992 ‘Crossing the Boundaries’ Royal Cornwall Museum, Truro, (4 Cornish Artists 1989 Member of the Newlyn Society of Artists. in Europe). 1993 Elected on to the Council of Management, Newlyn Art Gallery, Cornwall. 1992/91/90 Bath Contemporary Art Fair, Ogle Fine Art. 1993 Elected Committee Member, Newlyn Society of Artists. 1992/91/90 Contemporary Art Fair, Business Design Centre, Islington, London, Ogle 1997/98 Visiting lecturer, Cheltenham College of Art. Fine Art. 2015 Became a represented artist on ideelart a virtual online organisation 1990 ‘Art London 90’, 5th International Art Fair. promoting Abstract and conceptual art worldwide (www.ideelart.com) ‘Six Porthleven Painters’, The Porthmeor Gallery, St Ives. 2018 IMS honoured Jeremy Annear by setting up a Young Musicians Bursary named: 1989 ‘St Ives 89’, New Street Gallery, Plymouth. THE JEREMY ANNEAR BURSARY. This was awarded for the first time in 2018 ‘From Cornwall’, The Park Gallery, Cheltenham College. to the talented French Violinist Irene Duval, and will be awarded annually to a 1989-1998 Newlyn Art Gallery, Newlyn. musician attending the annual spring seminars 1998-1992 ‘The Penwith Society of Artists, Penwith Gallery, St Ives. 1986 Louise Hallett and Vanessa Deveraux, London. SOLO EXHIBITIONS Louise Hallett Gallery, London. 2020 Messum’s, Bury Street, London 2018 Messum’s, London PUBLICATIONS, AWARDS ETC 2016 Messum’s, London 2017 Courpus Letov, online arts and culture magazine. ‘Jeremy Annear Modernism 2015 Lemon Street Gallery, Truro ‘Two-fold’ with Judy Buxton and the Projection of Being’ by author Ilya Levitov (president of the Russian 2014 Campden Gallery Chess Association). 2013 Messum’s, London 2014 Exhibition Catalogue Campden Gallery. Catalogue Essay ‘The Anxious New Craftsman St Ives with JudyBuxton and Terence Coventry Object’ Graham Boyd. ISBN:978-1-908753-23-6 2012 Campden Gallery 2013 Exhibition Catalogue. New Craftsman St Ives. Catalogue Essay ‘Jeremy 2011 Messum’s, London Annear’ Mercedes Smith. ISBN: 978-0-9926590-2-8 2010 Campden Gallery 2013 Exhibition Catalogue. Messum’s London. Catalogue Essay ‘Encounters with 2009 Messum’s, London Beauty’ by Andrew Lambirth. ISBN: 978-1-908486-37-0. Publication No: 2007 New Millennium Gallery, St Ives, Cornwall. CCCXLV 2004 New Millennium Gallery, St Ives, Cornwall. 2012 Exhibition Catalogue. Campden Gallery. Catalogue Essay ‘A Kind of Music’ Ian 2002 Messum’s, London Collins. Art Writer and Curator. ISBN: 978-1-908753-07-6 2001 New Millennium Gallery, St Ives, Cornwall. 2011 Exhibition Catalogue. Messum’s London. Catalogue essay ‘the Eye of the 2000 Messum’s, London Spirit’ by Andrew Lambirth, Writer Critic and Curator. ISBN: 978-1-905883- 1998 Messum’s, London 93-6. Publication No: CCCI New Millennium Gallery, St Ives, Cornwall. 2010 Exhibition Catalogue. Campden Gallery. Catalogue Essay ‘Forensic Traces’ by 1997 Messum’s, London Andrew Lambirth. ISBN: 978-0-9562719-4-5 Artco Gallery, Leipzig, Germany. 2009 Exhibition Catalogue. Messum’s London. Forward by Nicholas Usherwood. 1993 Porthmeor Gallery, St Ives, Cornwall. Catalogue essay ‘Silent Harmonies’ Dr Jane Hamilton. ISBN: 978-1-905883- 1992 International Celtic Festival, Lorient, France. 44-8. Publication No:CCXLXII Galerie Passage, Berlin, Germany. 2007 Exhibition catalogue, New Millennium Gallery (foreword by David Falconer). 1991 Galerie Maeder, Berlin, Germany. 2006/7 Interview ‘Jeremy Annear on European Modernism and Cornish Art in the Galerie Altes Rathaus (with Margaret Kelly/Wolfgang Lehmann). Eighties’, www.artcornwall.org Galerie Haus Martin, Bremen, Germany. 2004 Exhibition catalogue, New Millennium Gallery (foreword by James Aitchison 1989 The Salthouse Gallery, St Ives, Cornwall. and ‘The Meeting’, a poem written for the catalogue by Robert Vas Dias). The Underground Gallery, Bath. Catching the Wave: Contemporary Art and Artists in Cornwall by Tom Cross (Published by Halsgrove 2002). SELECTED GROUP EXHIBITIONS 2002 Exhibition catalogue, ‘New Works’, Messum’s Contemporary. 2018 ING Discerning Eye. Invited guest artist by Bridget McCrum. 2001 Galleries Review, ‘Showing in St Ives’, Petronilla Silver. 2004 NumerousGroup and Mixed exhibitions since 2005 2000 Exhibition catalogue (foreword by Norbert Lynton), Messum’s Contemporary. 2004 New Millennium Gallery, St Ives, Cornwall, winter 2003/4 and ART2004 1998/97 Exhibition catalogue, David Messum Gallery (foreword by John RusselTaylor). Islington Business Design Centre. 1996 Drawing Towards the End of the Century, Newlyn Society of Artists 2003-1998 ‘ART 2003’, David Messum Gallery, Business Design Centre, Islington, London. Publication. 2002 ‘Art & Spirituality’, Truro Cathedral, Cornwall. 1994 St Ives Revisited – Innovators and Followers, by Peter Davis (Bakehouse 2002-1996 ‘Kunst uit Cornwall’, Amersfoort, Reina de Weyer, Holland. Publications). 2002/01/00/99 Wenlock Fine Art, Much Wenlock, Shropshire. 1991 Award Kreissparkasse, Bremen, Germany. 2000 ‘Twenty Years of Contemporary Art’, Falmouth Museum and Art Gallery. 1991/92 DAAD Scholarship, (Atelierhaus Worpswede), Germany. 1999 ‘The Next Generation of Cornish painters’, Jeremy Annear and Kurt Jackson, 1991/92 Atelierhaus Worpswede (Worpswede Verlag). David Messum Gallery, London. 1999 ‘Aspects of Abstraction’, Falmouth Art Gallery, Cornwall. PROJECTS ‘Cornish Painting’, The City Gallery, London. 2013, 2018 Co-ordinator and Curator of IMS Charity Auction at Sotheby’s London with ‘Cornish Art in the Nineties’ Beatrice Royal Gallery, Eastleigh. Exhibitions at Falmouth Museum and Art Gallery and at Sotheby’s South 1999/98 Innocent Fine Art, Bristol. Kensington London CDLIX ISBN 978-1-910993-51-4 Publication No: CDLIX ‘The British Show Truro’, Lemon St Gallery, Truro, Cornwall. 2005-2007 Continuing studio-based collaboration with composer Jim Aitcheson. Published by David Messum Fine Art 1998 ‘5 Leipziger Jahresausstellung 1998’ Leipzig, Germany. 2003-2005 Artsound.co.uk A collaboration with composer Jim Aitcheson, Coleridge © David Messum Fine Art ‘Panel Paintings’, Rosanna Wilson, Stephens Fine Art, London. Productions Andy Russo, The Coull Quartet and The Secconi Quartet. All rights reserved. No part of this publication may be transmitted in any form or by any means, ‘Newlyn Now’, Royal West of England Academy, Bristol. electronic or mechanical, including photocopy, recording, or any information storage and 1998/97/96 ‘Now and Then’, David Messum Gallery, London. COLLECTIONS retrieval system, without the prior permission in writing from the publisher. 1998/97 London Olympia Art Fair. Lazard Bros. Ionian Trust. The Royal Holloway Collection. The Royal West of The Studio, Lords Wood, Marlow, Buckinghamshire. ‘The Little Picture Show’, The Rainy Day Gallery, Penzance. England Academy. Listed in Who’s Who in British Art and The Dictionary of Artists in Tel: 01628 486565 www.messums.com 1997 ‘Limelight II’, Newlyn Art Gallery, Newlyn. Britain since 1945 Photography: Steve Russell Printed by DLM-Creative ‘Quality of Light’, St Ives Tate Peninsular Programme, Open Studio. www.messums.com